Читать книгу Old Time Wall Papers - Kate Sanborn - Страница 9

One of the cruder papers popular a hundred years ago; containing three groups of figures engaged in rural occupations. Beside the gray ground this paper contains eleven shades of color, roughly applied, with little attention paid to register.

"What makes it more probable that our first European notion of wall-papers came from Japan, is the fact that the first papers made in Holland and then introduced into England and France, were printed in these small sizes [about three feet long by fifteen inches wide]. Nor was it until some time in the eighteenth century that the present mode of making long rolls was adopted. These early wall-papers were printed from blocks, and were only one of many modifications and adaptations of the block printing which gave us our first books and our first wood-cuts.

"The printing of papers for covering walls is said to have been introduced into Spain and Holland about the middle of the sixteenth century. And I have read, somewhere, that this mode of printing the patterns on small pieces of paper was an imitation of the Spanish squares of stamped and painted leather with which the grandees of Spain covered their walls, a fashion that spread all over Europe.

"We are told that wall-paper was first used in Europe as a substitute for the tapestry so commonly employed in the middle ages, partly as a protection against the cold and damp of the stone walls of the houses, partly, no doubt, as an ornament."

But here is something delightfully positive from A. Blanchet's Essai sur L'Histoire du Papier et de sa Fabrication, Exposition retrospective de la Papetier, Exposition Universelle, Paris, 1900.

Blanchet says that paper was invented in China by Tsai Loon, for purposes of writing. He used fibres of bark, hemp, rags, etc. In 105 AD he reported to the government on his process, which was highly approved. He was given the honorary title of Marquis and other honors. The first paper book was brought to Japan from Corea, then a part of China, in 285. The conquest of Turkestan by the Arabs, through which they learned the manufacture of paper, came in the battle fought on the banks of the River Tharaz, in July, 751. Chinese captives brought the art to Samarcand, from which place it spread rapidly to other parts of the Arabian Empire. Damascus was one of the first places to receive it. In Egypt, paper began to take the place of papyrus in the ninth century, and papyrus ceased to be used in the tenth. The Arabian paper was made of rags, chiefly linen, and sized with wheat starch. European paper of the thirteenth century shows, under the microscope, fibres of flax and hemp, with traces of cotton. About 1400, animal glue was first used for sizing. The common belief that Arabian and early European paper was made of cotton is a mistake. There has never been any paper made of raw cotton, and cotton paper anywhere is exceptional. In 1145, when the troops of Abd el Mounin were about to attack the capital of Fez, the inhabitants covered the vault of the mihrab of the mosque with paper, and put upon this a coating of plaster, in order to preserve from destruction the fine carvings which are still the admiration of visitors. The mihrab of an Arabic mosque is a vaulted niche or alcove, in which the altar stands and towards which the worshippers look while they pray. This is probably the earliest approach to the use of wall-paper and shows the excellent quality of the paper.

Herbert Spencer states that "Dolls, blue-books, paper-hangings are lineally descended from the rude sculpture paintings in which the Egyptians represented the triumphs and worship of their god-kings." No doubt this is true, but the beginning of paper, and probably of wall-paper, was in China.

Paper made of cotton and other vegetable fibres by the Chinese was obtained by the Arabs in trade, through Samarcand. When they captured that city, in 704 A.D. they learned the process from Chinese captives there, and soon spread it over their empire. It was known as "Charta Damascena" in the Middle Ages, and was extensively made also in Northern Africa. The first paper made in Europe was manufactured by the Moors in Spain, at Valencia, Toledo, and Xativa. At the decline of Moorish power, the Christians took it up, but their work was not so good. It was introduced into Italy through the Arabs in Sicily; and the Laws of Alphonso, 1263, refer to it as "cloth parchment." The earliest documents on this thick "cotton" paper date from the twelfth and thirteenth centuries, as a deed of King Roger of Sicily, dated 1102, shows. When made further north, other materials, such as rags and flax, were used. The first mention of rag paper, in a tract of Peter, Abbott of Cluny from 1122 to 1150, probably means woolen. Linen paper was not made until in the fourteenth century.

The Oriental papers had no water mark—which is really a wire mark. Water-mark paper originated in the early fourteenth century, when paper-making became an European industry; and a considerable international trade can be traced by means of the water marks.

The French Encyclopædia corroborates Blanchet's statement that the common notion that the Arabic and early European papers were made of cotton is a mistake; the microscope shows rag and flax fibres in the earliest.

Frederic Aumonier says: "From the earliest times man has longed to conceal the baldness of mud walls, canvas tents or more substantial dwellings, by something of a decorative character. Skins of animals, the trophies of the chase, were probably used by our remote ancestors for ages before wall-paintings and sculptures were thought of. The extreme antiquity of both of these latter methods of wall decoration has recently received abundant confirmation from the valuable work done by the Egyptian Research Department, at Hierakonopolis, where wall-paintings have been discovered in an ancient tomb, the date of which has not yet been determined, but which is probably less than seven thousand years old; and by the discovery of ancient buildings under the scorching sand dunes of the great Sahara, far away from the present boundary line of habitable and cultivated land. The painted decorations on the walls of some of the rooms in these old-world dwellings have been preserved by the dry sand, and remain almost as fresh as they were on the day they left the hand of the artist, whose bones have long since been resolved into their native dust."

From the Encyclopædia Britannica I condense the long article on "Mural Decoration":

There is scarcely one of the numerous branches of decorative art which has not at some time or other been applied to the ornamentation of wall-surfaces.

I. Reliefs sculptured in marble or stone; the oldest method of wall decoration.

II. Marble veneer; the application of thin marble linings to wall surfaces, these linings often being highly variegated.

III. Wall linings of glazed bricks or tiles. In the eleventh and twelfth centuries, the Moslems of Persia brought their art to great perfection and used it on a large scale, chiefly for interiors. In the most beautiful specimens, the natural growth of trees and flowers is imitated. About 1600 AD, this art was brought to highest perfection.

IV. Wall coverings of hard stucco, frequently enriched with relief and further decorated with delicate paintings in gold and colors, as at the Alhambra at Granada and the Alcazar at Seville.

V. Sgraffito; a variety of stucco work used chiefly in Italy, from the sixteenth century down. A coat of stucco is made black by admixture of charcoal. Over this a second very thin coat of white stucco is laid. The drawing is made to appear in black on a white ground, by cutting away the white skin enough to show the black undercoat.

VI. Stamped leather; magnificent and expensive, used during the sixteenth and seventeenth centuries, in Italy, Spain, France, and later in England.

VII. Painted cloth. In King Henry IV., Falstaff says his soldiers are "slaves, as ragged as Lazarus in the painted cloth." Canvas, painted to imitate tapestry, was used both for ecclesiastical and domestic hangings. English mediæval inventories contain such items as "stayned cloth for hangings"; "paynted cloth with stories and batailes"; and "paynted cloths of beyond-sea-work." The most important existing example is the series of paintings of the Triumph of Julius Caesar, now in Hampton Court. These designs were not meant to be executed in tapestry, but were complete as wall-hangings. Godon, in Peinture sur Toile, says: "The painted canvasses kept at the Hôtel Dieu at Rheims were done in the fifteenth century, probably as models for woven tapestries. They have great artistic merit. The subjects are religious." Painted cloths were sometimes dyed in a manner similar to those Indian stuffs which were afterwards printed and are now called chintzes. It is recorded somewhere, that the weaving industry was established at Mulhouse (Rixheim) by workers who left Rheims at a time when laws were passed there to restrict the manufacture of painted cloths, because there was such a rage for it that agriculture and other necessary arts were neglected.

VIII. Printed hangings and wall-papers. The printing of various textiles with dye-colors and mordaunts is probably one of the most ancient of the arts. Pliny describes a dyeing process employed by the ancient Egyptians, in which the pattern was probably formed by printing from blocks. The use of printed stuffs is of great antiquity among the Hindus and Chinese, and was practised in Western Europe in the thirteenth century, and perhaps earlier. The South Kensington Museum has thirteenth-century specimens of block-printed linen made in Sicily, with beautiful designs. Later, toward the end of the fourteenth century, a great deal of block-printed linen was made in Flanders and was imported largely into England.

Tapestries as wall-hangings were used in the earliest times, and, as tiles and papers were copied from them, they must be spoken of here. One remarkable example of tapestry from a tomb in the Crimea is supposed by Stephani to date from the fourth century before Christ. Homer frequently describes tapestry hangings, as when he alludes to the cloth of purple wool with a hunting scene in gold thread, woven by Penelope for Ulysses. Plutarch, in his Life of Themistocles, says, "Speech is like cloth of Arras, opened and put abroad, whereby the imagery doth appear in figure; whereas in thoughts they lie but as in packs."

The oldest tapestry now in existence is the set of pieces known as the Bayeux Tapestry, preserved in the library at Bayeux, near Caen, in France, and said to be the work of Matilda, Queen of William the Conqueror. These pieces measure two hundred and thirty-one feet long and twenty inches wide.

It is generally believed, and stated as a fact in the various guide-books, that the Bayeux Tapestry was the work of Queen Matilda, the consort of the Conqueror, assisted by her ladies. At that time, English ladies were renowned for their taste and skill in embroidery. Their work was known throughout Europe as English work. The Conquest having brought the people of Normandy and England into close intercourse, it is pointed out that on William's return to France, he must have taken with him many Saxons, with their wives and daughters, in honorable attendance upon him; and that these ladies might have helped Matilda and her companions in making this historical piece of needlework. Many historians, however, incline to the opinion that Matilda and her ladies had nothing to do with the tapestry, although it was done during her lifetime.

It is amusing to note how Miss Strickland, in her Lives of the Queens of England, takes up the cudgels in a very vigorous manner on behalf of Matilda's claim:

"The archæologists and antiquaries would do well to direct their intellectual powers to more masculine objects of enquiry, and leave the question of the Bayeux Tapestry (with all other matters allied to needle-craft) to the decision of the ladies, to whose province it belongs. It is a matter of doubt whether one out of the many gentlemen who have disputed Matilda's claim to that work, if called upon to execute a copy of either of the figures on canvas, would know how to put in the first stitch."

But Dr. Daniel Rock, in his exhaustive work on Tapestries, casts the gravest doubts upon the tradition that this needlework owed its origin to Matilda and her ladies: "Had such a piece anywise or ever belonged to William's wife, we must think that, instead of being let stray away to Bayeux, toward which place she bore no particular affection, she would have bequeathed it, like other things, to her beloved church at Caen."

The author points out that there is no mention of the tapestry in the Queen's will, while two specimens of English needlework, a chasuble and a vestment, are left to the Church of the Trinity at Caen, the beautiful edifice founded by her at the time when her husband founded the companion church of St. Etienne in the same city. In fact, Dr. Rock thinks the tapestry was made in London, to the order of three men quite unknown to fame, whose names appear more than once on the tapestry itself. Coming over with the Conqueror, they obtained wide possessions in England, as appears from the Doomsday Book, and would naturally have wished to make a joint offering to the cathedral of their native city. In support of this view, it is shown that the long strip of needlework exactly fits both sides of the nave of the cathedral at Bayeux, where until recent times it has hung.

The tapestry has undergone so many vicissitudes that it is a matter for wonder that it has been preserved in such good condition for eight hundred years. At one time it was exhibited at the Hôtel de Ville, at Bayeux, fixed panorama-fashion on two rollers, so that it was at the disposal of the fingers as well as the eyes of the curious. When Napoleon was thinking of invading this country, he had the tapestry carried to the various towns of France and publicly exhibited, so as to arouse popular enthusiasm on behalf of his designs.

In 1871, when the Prussians were thought to be in dangerous proximity to Bayeux, the tapestry was taken down, enclosed in a metal cylinder, and buried in a secret place until the close of the war. Now it is kept in the Public Library in an upright glass case, which forms the sides of a hollow parallelogram, the tapestry being carried first round the outside and then round the inside space, so that every part of it is open to inspection, while it cannot be touched or mutilated. This valuable information is given by Mr. T. C. Hepworth.

In the Old Testament we find records of "hangings of fine twined linen" and "hangings of white cloth, of green, of blue, fastened with cords of fine linen and purple." Shakespeare has several allusions to tapestry: as, "fly-bitten tapestry"; "worm-eaten tapestry"; "covered o'er with Turkish tapestry"; "the tapestry of my dining chambers"; "it was hanged with tapestry of silk"; "in cypress chests my arras"; "hangings all of Tyrian tapestry."

Cardinal Wolsey's private accounts and inventories, still preserved, state that in 1552 he bought one hundred and thirty-two large pieces of Brussels tapestry, woven with Scriptural subjects and mostly made to order, so as to fit exactly the various wall spaces. Among the wall-pieces, "in addition to the numerous sacred subjects are mentioned mythological scenes, romances, historical pieces and hangings of verdure," the last being decorative work, in which trees and foliage formed the main design, with accessory figures engaged in hunting, hawking and the like.

We read in Gibbon's Rome that Charles the Sixth despatched, by way of Hungary, Arras tapestry representing the battles of the great Alexander. And Macaulay inquires, "Where were now the brave old hangings of Arras which had adorned the walls of lordly mansions in the days of Elizabeth?"

According to Shakespeare, the arras was found convenient to conceal eaves-droppers, those planning a frolic or plotting mischief; or for a hasty lunch, as in The Woman Hater, by Beaumont and Fletcher: